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Yes. |
And you know what...? |
We, we have to give it. |
...and my heart goes out to you, because I know... |
Not now, I'm talking to the press. Claire! |
What? I have a fiveo'clock plane to catch. |
I, uh... I've always thought so... Well, you just get an idea, and try to find the best way to express it in pictorial form. I've written a letter to the studio and to SAG protesting... Bill: get a copy of that letter...! I just wanted to tell you that I am <u>past</u> chagrined, I'm <u>mortified</u> at the way you were spoken to... |
I... |
An artist of your caliber... |
I'm only trying to... |
I know what you are, I am <u>so</u> sorry that you...when I read that script I said there's only one person to play that part. |
The minute I read that script I said... |
I know... |
...she works with <u>animals</u>, she... |
...yes... |
...she has a <u>home</u>... |
...I know, I'm so...because I said: yes, a woman who...the...the community <u>respects</u> her. Please don't go. Please don't go. What can I do but beseech you...? Trauma, <u>toil</u>...when are we free of them...? When...? |
He treated me as if I were a child... |
Claire: As an interpretive artist to a creative artist: Stay with me. I need you. We start to shoot tomorrow and then it belongs to <u>us</u>. Stay. Stay. Tonight...when... When they've gone. Let's talk. Let's <u>really</u> talk. We could, we'll have <u>dinner</u>, we'll...a bottle of some bad red wine, we'll get spaghetti, and we'll... |
I'm sorry Walt it's gone beyond that. |
Hello. |
...he's right here, Mr. Mayor... |
Bob are you alright...? |
I'm so comfortable with that, Walt, I can't <u>tell</u> you... |
Well, Joe said it, and he's right. |
No, are you kidding me, Bob, not at all. |
Marty... |
You can't treat me like this. I'm not a child! |
She's absolutely r... |
I'm not a <u>child</u>... I have <u>feelings</u>... Don't you...don't, don't...don't... |
Matzoh! Are you Jewish? |
I, actually yes. |
I love Jewish men. |
Why? |
<u>You</u> know...Where's your bathroom? |
Look. |
I feel so <u>close</u> to you... |
Look, look, I like you <u>very much</u>... |
I like you, too. |
But not that <u>way</u>... |
But we... |
Look, look there's someone else... |
You have to hide. |
Who is that...? |
That's my... |
Oh. |
Will you help me out...? |
I... |
Hi. I hope I'm not disturbing... |
She came in here, wait, she...I was giving her a massage...wait...Wait! She came in here...she... ...with respect...she took off her clothes, and she got in <u>bed</u>, I told her I could notwe don't know each other, you see... |
...we had a script conference... |
I told her Thank You Very Much, but it was inconvenient because...uh... because... |
I want to tell you something, Wally, he's a pussycat. <u>My</u> thing is to see everybody does what they said they would and I have to do that. Now: what is this you want <u>Eight Hundred Thousand Dollars</u> to do what you're being paid to, you already <u>signed</u> you'd do...? What is that? |
I think I should talk to my agent, Marty, you and I should, we should, really not discuss... |
Who is her agent...? |
Get him on the phone. |
He's on the Island, he'll be back on... |
Get him on the... |
I want you to hear this. |
I really think that <u>business</u>...matters should be discussed between you t... |
Well, I'm going to discuss 'em between you babe, cause it's your idea, and you think you're going to sign to do a, then hold us up in the <u>wilds</u> sweetheart, you are in <u>error</u>... |
You have no right to... |
Cool it, Babe, you started this... |
And I have Mr. Barrenger's Tuna B... |
Thank you. |
I, well, you know, I tried to take him, in his room. |
I think he's moved... |
I, uh... Um... |
Nobody touched me, I was at home. |
Who is it raped you? |
Nobody. |
Well, what's the beef? |
No. |
Then what is the...? |
It's a mistake. It's all over. I'm sorry that we've inconvenienced you. |
I wasn't in the car. |
We know that you weren't. |
I've got scene <u>twelve</u>... Shouldn't you be in school...? |
It's night. |
Scene <u>twelve</u>...arrival at the mill. |
Aren't you ever in school? |
There's other things to be learned. |
Izzat so? |
The Mayor's outside. |
What's his name? |
Mr. Bailey. |
Is Mr. Barrenger there...? |
No, wait a, wait a, wait a...we can't put her in the car, she gets it in her head to sue, or rape, or some goddam, she wasn't in... |
You guys had better leave us a... |
Mr. Barrenger. |
I'm very sorry to... |
Well. What seems to be the...? |
I have to ask you these...um. You have a valid drivers license...? |
Of course he... |
Could I see it please...? |
Well, now, Mr. Barrenger, I'm very sorry, in fact, I'm as sorry as I could be, <u>but</u>... |
I'm an attorney, if there's anything you have to say to... |
...I have to give you this <u>ticket</u> for damage to city property. I'm really sorry, Sir, it's a formality, I hope you'll excuse... |
You have to what? |
It's a formality. Any case of damage to city prop...you hit the control box of the new stop light, and... They'll, uh, these things <u>happen</u>, I hope you're alright, and that you're feeling... |
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